Guide to Touring

So you wanna tour? You want to get out see new performance styles, learn and grow as a performer, make business connections, and get your name out there. Part I of our Guide to Touring will give you some resources for doing just that. Part II will run in next month’s issue and guide you through what to expect as an out of town performer and how to make the trip as affordable as possible.

Approach #1 – The Tried and True Method: The Festival Circuit

As Coco Lectric puts it, “It’s very hard to cast someone you’ve never met or seen [perform]live.”

The festival circuit is the most popular method of getting your name out there and also the most expensive. Lula Houp Garou shared some of her strategies in a recent interview with us, and while they are *so* worth reading, she sums it up with, “Have I recouped all the money that I have spent on festivals? Not at all. Do I still consider the investment to be worth it? Absolutely.”

The new 2013 Burlesque Festival Guide is out and there are over 30 festivals in the U.S. alone, and unless you have unlimited resources and a very empty calendar of obligations it is impossible to hit ‘em all. So how do you decide?

Midnite Martini’s approach: Focus on the mid-sized festivals. “I have done the really large festivals and everyone is so nervous and there are so many people it’s hard to make real connections or be noticed, or really remember the acts that you should notice. I really enjoy the smaller festivals as they are more laid back and there’s more opportunity for a whole lot of networking.”

Coco Lectric’s Approach: “I have a list of the major festivals that I want to hit each year, and festivals I have enjoyed in the past, and I do those. I make sure to make it to BHoF every year.”

Donna Denise’s Approach: “ I do as much as I can. I want to be able to go to them all, but I have to narrow it down to places I want to perform in more often.”

Tips for making the most out of festivals:

Do go to as many of the shows as you can and make sure to compliment the acts you genuinely enjoyed. Try to focus on other performers’ acts and needs as much as your own. You want to impress the producers of course, but you also want to impress your fellow performers both on stage and off.

Do go to all of the workshops, classes, after parties, and all of the other extras. You are surrounded by new people- make the most of all of the new connections. If there are other shows going on around town outside of the festival , check those out as well if possible.

Do follow up when you get home. Add people on Facebook, drop them an email and let them know how much you enjoyed meeting them. Keep in touch.

Approach #2 – Whoring Your Resources

Make a list of all of the cities you know with a large burlesque scene, or a scene in which you are particularly interested in performing. Now make a list of all of your out of town friends, relatives, exes- anyone who has a couch on which you can crash. See where you converge. You have a sister in Dallas you say? Great- let’s start there.

Step 1- Take your vacation days from the day job to go visit your sister, and plan your trip around a time when there are a lot of shows (a long weekend perhaps).

Step 2- Research the local scene. Who’s who among the producers and performers? What kind of shows are being produced and in what kind of venues? Which acts do you have in your arsenal that will fit well?

Step 3- Reach out. In a well-crafted email explain that you are coming to town and would like to perform. If you’ve already met who you are reaching out to, remind them of where. Let the producer know that you are familiar with his/her work, what you like about it, and which acts you have that are good fits and where they can learn more about you and said acts.

Step 4- Know the expectations. If you get a bite, make sure you find out the following: Are you able to perform in other shows on the same night/same weekend/etc? Would having you teach a workshop be something enticing to the producer, or just more work for them?

Step 5- Get referrals. If the producer who booked you doesn’t mind, or if they cannot book you during the time you’re in town, ask for referrals. Try to get a short list of other folks in Dallas whom you should contact, as well as surrounding cities. It’s time for the Piggy Back.

Approach #3- The Piggy Back

Whether you’ve used the festival approach or the whoring approach, the piggy back is a valuable strategy. So you’ve been booked in Dallas, but you’d like to do more in your week away- enter the Piggy Back.

Grab your map of Texas and look around. If you have a car or can afford to rent one, it’s a straight shot to hit the San Antonio, Austin, Houston, and Corpus Christi scenes. It’s now time to repeat Steps 2-5 from above for each of these cities. If you play your cards right, the dates line up and the stars align, you could feasibly schedule four shows in four cities in four days- which makes you- officially on tour!

Now what to expect when you get there? Check back next month for Part II.